Stefan Hajduk
University of Adelaide, German, Faculty Member
- Stefan Hajduk studied German philology, theatre, and philosophy in Frankfurt am Main, Rome, Naples, and Munich, where... moreStefan Hajduk studied German philology, theatre, and philosophy in Frankfurt am Main, Rome, Naples, and Munich, where he graduated with a M.A. degree at Ludwig Maximilians University. He continued his studies in Berlin, where he obtained his PhD (Dr. phil.) at Humboldt University and worked for the Max Planck Institute for the History of Science.
His doctoral thesis evidenced how modern poetics anticipated the deconstructive discourse effects in post-structural philosophy and was published under the title: The Figure of the Sublime. Robert Musil’s Aesthetic Transgression of Modernity (Würzburg 2000). After appointments at Universities in India and Ireland he joined The University of Adelaide in 2012. For his most recent research work see the link to his book titled Poetology of Moods.edit
Mit dem Erscheinen von Goethes »Werther« (1774) hält ein neues Phänomen Einzug in die Literaturgeschichte: die Stimmung. Dieses schon der Antike bekannte Gefühl einer fundamentalen Verschränkung von Ich und Welt avanciert im letzten... more
Mit dem Erscheinen von Goethes »Werther« (1774) hält ein neues Phänomen Einzug in die Literaturgeschichte: die Stimmung. Dieses schon der Antike bekannte Gefühl einer fundamentalen Verschränkung von Ich und Welt avanciert im letzten Drittel des 18. Jahrhunderts zu einem poetologischen Gestaltungsprinzip, das die folgende Epoche der Romantik entscheidend prägen wird. Nach ihrem Aufkommen in der Literatur wird die ästhetische Stimmung auch in Musik und anderen Künsten europaweit zu einem zentralen Ausdrucksmittel. Stefan Hajduks Studie liefert die systematische Ausarbeitung von Stimmung zu einem methodisch belastbaren Konzept der historischen Literaturforschung und verbindet damit die aktuelle Theoriedebatte über Emotionen mit der Praxis der wissenschaftlichen Gefühlslektüre.
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Research Interests: Literature and Narrative
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Research Interests: Philosophy and lettre
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This article focusses on the trains of thought and motifs that link the aesthetic and ethical foundation of The Man Without Qualities with philosophemes of the Greek antiquity. When Musil states that aesthetics is ethics and that... more
This article focusses on the trains of thought and motifs that link the aesthetic and ethical foundation of The Man Without Qualities with philosophemes of the Greek antiquity. When Musil states that aesthetics is ethics and that everything is moral, he is drawing on classical ideas that converge in the idealistic notion of unity in diversity. The question of another condition is characteristic of the Romantic tradition that Musil continues (while distancing himself from it), but has a much older heritage, that of the philosophy of antiquity.
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English title: Can there be a theory of humor? Problems of philosophical conceptualization and methodological foundations of Wilhelm Dilthey
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Is self-reflexivity, as is often maintained, a structural characteristic of literary modernity? To what extent does self-reflexivity provide a specifically modern as well as qualitative criterion which helps to distinguish between... more
Is self-reflexivity, as is often maintained, a structural characteristic of literary modernity? To what extent does self-reflexivity provide a specifically modern as well as qualitative criterion which helps to distinguish between aesthetically experimental texts and less advanced ones? Proceeding from a problematization of the concept of modernity, I explore these questions with reference to E.T.H. Hofmann‘s Prinzessin Brambilla. Labelled a ‚Capriccio,‘ the narrative unfolds as an arabesque, in which subjectivity and textuality constitute each other, so that personal as well as semantic identity appear to be multiple. Just as the mythic ‚mirror brightness‘ of the well Udar releases from the constraint of being identical with oneself by transfiguring the „I“ into a reflexive medium of alterity which is sensually perceivable, so the narrative dynamics of the text lead one to produce a reading of it as a figuration of transgression. The thematic analysis leads to a transgression of se...